The images in this exhibition explore and focus on the relationship between Light, Colour and Rhythm by producing a diverse range of digital photographic abstract images. To this end the material focuses on line, proportion and a disparate range of colours which in turn elicit a range of emotional responses and associations. The genesis of the work has its origins in the work of Mark Rothko and later on the work of Bridget Riley. The images in this exhibition are untitled but given a number. Whilst realising the work can only be communicated through the personal involvement of the viewer this open ended approach, this liberation from the inferences of giving work a title can sometime be very challenging for the viewer: but it can also be seen as a glorious invitation to embrace the work at different levels which might include the aesthetic, the emotional, the poetic, the intuitive, the historical and the technical. As viewers we have been preconditioned to the content of images even before we have viewed the work. In this sense our engagement, appreciation of the material is heavily influenced by the title and we, as viewers feel more confident when offering an opinion because we can offer a linguistic account of the work we are looking at which matches a description of the work.
Whilst putting this exhibition together over a period of two years I have occasionally invited various people from different backgrounds to look at the work and express their opinions and their engagement with the images. Given that we all come to any work of art, in any medium with our own set of expectations, backgrounds and agendas I was very encouraged by the fact that the images, were regarded as being dramatic, original and visually very exciting. When questioned more closely about what the images meant the responses were as varied as they were interesting. Some tended to focus on the origins of light and how the ‘radiation bands’ in the images absorbed and emit light and at times appear as a series of coloured bands, whilst other interpreted the various bands as a musical score which created a diverse range of rhythms which, at times, created counterpoints and echoes of other rhythms within the image. There were those who focused on the abstract notion of ‘line’ and how this quality impacts on our daily lives where, it seemed, most things can be defined, described and analysed through vertical and horizontal lines.
Whilst acknowledging the influences of Rothko and Riley I believe my work has extended their vision by changing the means and process through which the images are created. By working with digital imagery I am capable of producing a multiplicity of variations in the production of highly perfected bands of pure colour and achieve nuances and relationships of colour which might be considered impossible when using paint.